The next movement, again in D major, is this time called frankly a “Scherzo,” not a “Menuetto.” This concise Allegro is particularly noteworthy for the prophecy in its Trio of the Trio of the Scherzo of the Ninth Symphony.
The Finale, “Allegro molto” in D, is a forthright, humorous rondo. In view of the tragedy of that summer, this symphony, at once romantic and exuberant, might perhaps best be looked upon as an escape. Brought out on April 5, 1803, at a concert of Beethoven’s works given by the composer at the Theater an der Wien, Vienna, it was coolly received, being regarded by many listeners as extravagant or enigmatic.
Symphony No. 3, in E-flat Major (“Eroica”), Opus 55
Beethoven’s next symphony, though begun in the summer of 1803, was not completed till the following year. As long before as 1802 Beethoven had declared his dissatisfaction with his works up to that time: “From today I mean to take a new road.” This symphony boldly takes that road. The Second Symphony still belongs largely to the eighteenth century. The Third embodies the developments with which Beethoven revolutionized the symphony. In amplitude and opulence no previous symphonic movement had ever equalled or even approached the initial “Allegro con brio,” and it may be doubted whether any has subsequently surpassed it. Sensitive listeners hearing it for the first time may well have cried out with Miranda: “O brave new world!”
There ensues a Funeral March that is one of the most tremendous lamentations conceived in any art. The Scherzo is not only the first but one of Beethoven’s symphonic scherzos, it is also among the greatest. For the Finale Beethoven provides a theme and variations of astonishing diversity and splendor.
The first and dominating theme of the “Allegro con brio”